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Mechanis­ms of Humour in the American Comedy Series How I Met Your Mother

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Mechanisms of Humour in the American Comedy Series How I Met Your Mother


1. Introduction

“You can turn painful situations around through laughter. If you can find humor in anything - even poverty -you can survive it.” said the well known American comedian, actor and author Bill Cosby. Humour is considered to be a crucial element for the quality of one's life. Who wants to live a life without joy and laughter at all? I read this quotation on the Internet and started wondering about humour in general, and then decided to write the seminar papers on that topic.

As humour is in a steady process, and the conventions of humour are changing with the time, I decided to analyze the recent and very famous comedy series “How I Met Your Mother”.


The aim of this paper is to introduce the term humour to the readers. As there are so many theories on humour, and so many issues which are related to it, only a short insight into the theoretical aspects will be provided .

The main focus of this paper will lie on the analysis of verbal humour in the American comedy series called “How I Met Your Mother”. Therefore the content and the characters will briefly be introduced in order to become familiar with the series.

The following chapters will be concerned with linguistic features of humour regarding this series. The first issue of concern in this paper is the one of the structural mechanisms of humorous language. Regarding this topic, the paper focuses on the phonological and morphological level. Furthermore, the series is discussed from a semantic point of view, as the field of semantics is crucial regarding humorous situations in this comedy series.

The third and last great issue of topic is concerned with the level of Pragmatics and Discourse, which is also of importance for the understanding of humour. Regarding the pragmatic level the three topics of conversation, speech acts and the cooperative principle are relevant in order to provide a further insight into the mechanisms of humour. Every chapter is divided into two parts, the first explains the theoretical background and the second should provide the reader with a practical example taken from the series.

Additionally, the example will be explained and interpreted with regard to the theoretical background.

In order to round up the paper my conclusion should reflect what I have learnt about humour and why it is an interesting topic for me.


2. Theories on humour

Humour is basic feature of human understanding and is highly related to our physical reaction expressed with laughter. Within the preceding research I came across many theories that try to handle the phenomenon of humour. However, according to Critchley (2002:2) there are three dominant theories describing the essentials of humour: the incongruity theory, the superiority theory an the release theory.

The incongruity theory is the most important concept regarding this paper because it is highly related with the use of language. However, this theory states that humour is caused when there is some ambiguity within an utterance and an unlikely association of ideas and concepts. Therefore, surprise is the most important element.

Furthermore, it is not only the ambiguity that causes humour, even more its realization and resolution. The ambiguity can be created on many different linguistic levels which will be described in the paper later on.

The second major theory on humour is the superiority theory which is based on the relationship between the teller of a joke and the addressee of it. Referring to that theory, there is one person who feels superior and makes fun of the other. The laughter is caused by jokes of the misfortunes of the other person.

The last major theory on humour, the release theory, is the most acknowledged and it derives from the psychologist Sigmund Freud. Although the paper is not really concerned with that theory, it is crucial for the understanding of the phenomenon humour. According to his theory, laughter is caused by the discharge of energy, the person who laughs feels released while and after laughing.

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Freud argues that “the energy that is relieved and discharged in laughter provides pleasure because it allegedly economizes upon energy that would ordinarily be used to contain and repress psychic activity” (Critchley 2002:3). This theory is also concerned with the issue of taboo topics arising in humorous discourse and jokes, such as death, diseases and sex.


3. How I Met Your Mother- Content and Characters

“How I Met Your Mother” is an American Comedy Sitcom that premièred in September 2005. There are now seven seasons with each more than twenty episodes. The sitcom is rewarded with several considerable prices such as the Emmy Award.

The main character in this series is a man called Ted Mosby. He lives in the year 2030, and has a daughter and a son. Ted recounts the events that led to the meeting of their mother, just what the title says. The story begins in 2005, he is 27 years old, lives in New York and begins working as an architect.

His best friend and his room mate Marshall Erikson is about to become a lawyer and is in a relationship with Lily Auldrin, a nursery teacher. They both marry throughout the seasons. All three of them are have a friend called Barney Stinson, a successful lady- killer, who always chats on girls which led to the meeting of the fifth main character, Robin Sherbatsky.

She is a Canadian news anchor for a New York cable news channel.


4. Humorous linguistic mechanisms in “How I Met Your Mother”

4.1. Structural Mechanisms

This chapter is concerned with the linguistic mechanisms which are the source of laughter. Of course, humour in a television series does not only consist of words. Also the situations, the characters and their body language are crucial features which make scenes funny. However, nearly all comedy series make use of certain linguistic structures because it is a fact that language is the most important vehicle to transport meaning to the audience.

As mentioned before, humour can be created by structural ambiguity. Those linguistic mechanisms that create ambiguity occur on four different levels. (Ross 1998:8).


4.1.1. Phonology

The first linguistic level on which ambiguity can be created is the phonological. Phonology is considered to be the basis of verbal humour as it deals with the sounds of a language. The use of homophones, homonyms and many other devices occur frequently in jokes and riddles.

Regarding this comedy series, it is rather hard to find jokes which create ambiguity on the phonological level as there is no obviously frequent use of homophones, homonyms, spoonerisms and other common phonological devices of jokes. However, the following joke creates humour by the extensive use of alliteration.

It is a dialogue between Ted and one of his former girlfriends called Victoria. The words “Klaus”, “close” and “class” are minimal pairs and have only different vowels sounds.


Ted: Klaus?

Victoria: Klaus.

Ted: German name.

Victoria: Yeah, German guy.

Victoria: There was a Klaus in my class.

Ted: And, you and Klaus were close.

Victoria: Not that close.

Ted: So, you and Klaus from your class were quite close.

Victoria. Kinda close.

Ted: Was that your Klaus?

Victoria: My Klaus?

Ted: In your class. Is your Klaus the kinda closeKlaus from your class?


The phonological level is not only concerned with certain devices, it also includes the question of stress, intonation, rhythm and rhyme. By watching the series it becomes obvious that intonation plays an important role concerning its humorous aspects. Especially Barney's intonation is remarkable and amazingly underlined with his body language.

Moreover, phonology encompasses different dialects and varieties of a language. As Robin comes from Canada she has a slightly different accent compared to the other main characters. Many jokes are based on the cultural differences between the United States and Canada. The way Robin speaks is frequently the initiator of such jokes.


4.1.2. Graphology

According to Ross (1998:8) the second level on which ambiguity can be created is the level of graphology. It is the way in which a language is represented visually and it is therefore a crucial part for visual humour, as it occurs in comics, cartoons and many advertisements. However, one technique is the use of acronyms, which are words that are formed from the initial letters of many words.

It is a technique in order to produce new words and therefore also a feature of morphology. In “How I Met Your Mother” acronyms are a common feature of the jokes, and their use will be discussed in the next paragraph which is concerned with morphology.


4.1.3. Morphology

The third level in which ambiguity can be created is the level of Morphology, the level of the structure of the individual words. Generally speaking, the level of morphology is not considered to be as important as the level of phonology, and not so many jokes in English create their ambiguity with the use of morphological devices.

However, concerning “How I Met Your Mother” it is of great importance because it occurs very often and I also dare say that this is the most important level with regard to that TV series.

The first and most often occurring device is the invention of new words, words which usually do not exist in the English language. Regarding this device I observed some interesting conversations between the characters. The following conversation shows how Lily and Barney use Ted's name in order to create words with a specific meaning regarding one of Ted's attributes.


Ted: Did you just use my name as a verb?

Barney: Oh, yeah, we do that behind your back. "Ted-out": to overthink. Also see "Ted-up". "Ted-up": to overthink with disastrous results. Sample sentence: "Billy Tedded-up when he tried ."


Another example for the invention of a new word with a specific meaning is given in the following conversation between Barney and Robin. In this case two different words are combined with each other. The word does not exist and even does not carry any meaning if someone does not know this scene.

Robin: So what was it, a cockroach or a mouse?

Lily: It was a cockamouse!

Robin: What?

Lily: It's some sort of mutant combination of the two. It's as if a cockroach and a mouse, you know .

Barney: Did the horizontal, ten-legged, interspecies cha-cha?

In the following example Barney exaggerates because of a failure. He states that the end of the world is coming that day. Within the last words of his utterance he also creates new words by combining one which already exists with his self-invented prefix “Bro-”, which derives from the word “brother” and encodes a faithful friendship between males in this particular series.

Barney: The World is going to come to an end tonight. Yes think about it. End of the World, Nostradamus, Notre Dame, Fighting Irish, Irish, St. Patrick's Day. This is it Bro. Bro-pocalypse and Bro-Mageddon.

The next example demonstrates the mechanisms of humour by the invention of a new word while using the same word twice in one sentence but in different forms. The term “to glob” does not exist in standard English, but everyone who watches this episode knows what is meant. Additionally, it is very nice visualized.


Woman: All our spa treatments are designed for couples. Would you be interested in the two person, cornmeal body scrub?


As mentioned before, the use of acronyms is a crucial feature of linguistic humour. The following example shows the use of the very well-known acronym VIP which stands for “Very Important Person” and Robin. This scene causes laughter as it is very unsual to use acronyms verbally.


Lily: Marshall just ditched out on our own party. Could you get me in there? I kinda need to kill him.

Robin: Actually I can't even get myself in. I was such a dork. I get recognized one time and I start thinking I'm Julia Roberts. I'm no VIP, I'm not even an IP; I'm just a lonely little P sitting out here in the gutter.

Lily: You know something, I'd take a P in the gutter over Julia Roberts any day.


Another example regarding acronyms is the following. In this dialogue Barney invents a new word by pronouncing the first letters of a whole description. He is a real ladykiller and therefore needs to decode his expressions in order to use them in front of his lovers so that they do not understand what he talks about.


Barney: Every woman in New York City. That's right, Barney Stinson is back on the market. Mothers lock up your daughters, daughters lock up your MILSWANCAs.

Marshall: MILSWANCAs?

Ted: Wait, I can get this . Mothers I'd Like to Sleep With And Never Call Again!

4.1.4. Lexis and Syntax

As far as the structural mechanisms are concerned, Lexis and Syntax play an important role. According to Ross (1998) it is the fourth level on which ambiguity can be created including many different devices. However, there is not much that can be observed in this series. The only syntactical forms that are frequently used are ellipses, asyndeta and polysyndeta.


4.2. Semantics and Semantic Ambiguity

Another interesting field of study regarding humour is the field of semantics. It is the study of meaning and it includes many different strategies to create semantic incongruity. Concerning “How I Met Your Mother” there are some semantic mechanisms which are frequently used. In this chapter I will focus on the use of contradictions, synonyms and intertextuality.


4.2.1. Contradictions

One of the mechanisms that cause semantic ambiguity is the use of contradictions and paradoxes. These are statements that are contradictory in nature. One example would be the following dialogue. Barney and Robin are talking to each other. By reading the dialogue, Barney denies the fact that he is talking about himself by stating that he is talking about the man who lives in the mirror.

Robin: I wanted to be sixteen again.

Barney: Robin, that is the stupidest thing I have ever heard come out of your mouth. You're the most awesome person I've ever met. Well, second.

Robin: Right, first being you.

Barney: No, actually, it's this guy I know who lives in something called the mirror.

4.2.2. Synonyms

Synonyms are frequently used in this sitcom. Synonyms are words that can be interchanged in context because these two words carry the same meaning. Regarding that series, there is one synonym that is used alongside all seasons. In order to understand the following synonym, the audience is in need of a certain background knowledge. However, before being informed about this common ground one should have a look at the following dialogue.

Ted (2030): Kids, to understand this story, you need to know that your Uncle Marshall was doing something that lots of college kids do. How do I say this? He was, uh, let's say eating a sandwich.

College Marshall brings a sandwich up to his mouth, takes a bit and starts laughing

College Ted: Hey.

College Marshall: Good afternoon, sir. I'm Marshall Eriksen.

College Ted: Sir? Please, just call me Ted.

College Marshall: OK, Dean Ted.

College Ted: Whoa. Someone's been eating a sandwich.

College Marshall: What? No. Really? I don't know 'cause I don't even know what sandwiches smell like. My parents are gonna donate a lot of money to this school.

College Ted: So you're bottom bunk, that's cool. I wanted the top bunk anyway.

College Marshall: What do you mean?

College Ted: I'm your new roommate.

College Marshall: This is so unfair.

Marshall: I didn't realize Ted wasn't the dean until later that night.

(flashback to College Ted He is eating sandwich in dorm room, Marshall walks in)

Marshall: You're not the dean.

This dialogue is a part of an episode called “How I Met Everyone” in which Ted tells his new girlfriend how he met his friends. While reading the dialogue one may wonder about what is so funny about eating sandwiches. In order to understand it, one needs to know that “eating a sandwich” decodes the same as “smoking a joint”.

Additionally, it can be observed that Marshall and Ted share a specific common code, because they are sometimes talking about things in a way that nobody else understands. Neither the characters in the series nor the audience is provided with further information. This also causes laughter.


4.2.3. Intertextuality

Another aspect of semantics is the intertextuality. This means that there is, within a certain text, whether in spoken or written discourse, a reference to another text. It is one of the crucial aspects for the definition of literature. Intertextuality occurs in nearly every episode. Mainly there are scenes which refer to movies, other TV series and famous books.

The following dialogue shows the reference to the movie “Forrest Gump” because they tell Ted to run in the same manner as in this movie- “Run, Ted, run!”. The whole scence reminds one of the movie because the characters act similar to the character is Forrest Gump and the scene is directed in a movie- manner. It could therefor be argued that intertextuality occurs on many different levels.


Ted: The window is open.

Marshall: What are you waiting for?

Ted: I .I .

Marshall: Run, Ted! RUN!! [Ted runs out of the apartment]

Ted: [to Lily on the sidewalk] Lily, the window is open.

Lily: Make a hole, people!Run, Ted! RUN!!

4.3. Pragmatics and Discourse

Humour is a very wide field of study and can be interpreted and analysed on various different levels. Hence, the level of discourse and pragmatics also plays an important role for the mechanisms on which humorous situations are based. But also the level of Pragmatics and Discourse includes many different perspectives.

In “How I Met Your Mother” the charcteristcs of conversation, the use of speech acts and the flouting of the cooperative principle are relevant regarding humour.


4.3.1. Conversation

The whole series mainly consist of communicative events between the main characters. However, there is a really interesting feature regarding conversation which causes laughter and is considered to be one of the funniest aspects of that series. The characters can converse with each other telepathically. Some websites suggest the term inner monologue conversations.

One example for such a conversation occurs in the first season. It is explicitly introduced by Future Ted.


Ted (2030):And then your Uncle Marhsall and I had one of our famous telepathic conversations.

Marshall: Check out Robin's date.

Ted: I know.

Marshall: Is that who I think it is?

Ted: Yep. It's Sandy Rivers.

Later in that episode, the inner conversation between those two continues. Also Lily takes part in that conversation, she interrupts Ted and Marshall because she recognized that they are talking to each other telepathically by seeing their face expressions.


Marshall: Dude, what are you doing?

Ted: What's it look like?

Marshall: It looks bad, is what it looks like. You cannot do this.

Ted: Marshall, she is a really cool girl when you get to know her. Besides, I'm trying to make Robin jealous.

Lily: Marshall, what is up with you and Ted?

Marshall: Nothing, baby. Don't worry about it. Fine. Do what you want. Hey.

4.3.2. Speech Acts

Speech Acts are considered as being actions that are performed in saying something. If one tries to concentrate on listening to speech acts occurring in everyday life, one may find out that nearly every utterance convey more than one meaning and causes actions to be performed.

Karen: Are those real diamond earrings?

Robin: Yes, they are. Thank you.

Karen: I didn't say I like them.

Robin: Well, I got a great deal on them.

Karen: Cool. I'm sure the exploited diamond miners of Sierra Leone would give you a high five if they still have their fingers.

Situations like these happen very often in that series. Especially when recent girlfriends and dates of Ted or Barney join the five main characters. It could be argued that this underlines the character's friendship, because when other people are around, misunderstandings are there on a regular basis.


4.3.3. The Cooperative Principle

The Cooperative Principle is one of the major principles that explain how conversation works. According to Grice (Cutting 2010:34) a successful verbal communication is achieved when the following four maxims are given. It is also a theory that explains how interactants can infer meaning to the obvious surface meaning. These include the Maxim of Quantity, Quality, Relation and the Manner of an utterance.

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